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A theoretically informed, up-to-date study of the idea and practice of reperformance in ancient poetry.
List of contents
Introduction: what is reperformance? Richard Hunter and Anna Uhlig; Part I. Interpretive Frames: 1. Archives, repertoires, bodies and bones: thoughts on reperformance for classicists Johanna Hanink; 2. Performance, reperformance, preperformance: the paradox of repeating the unique in Pindaric epinician and beyond Felix Budelmann; 3. Thebes on stage, on site, and in the flesh Greta Hawes; Part II. Imagining Iteration: 4. Reperformance, exile, and archive feelings: rereading Aristophanes' Acharnians and Sophocles' Oedipus at Colonus Mario Telò; 5. Models of reperformance in Bacchylides Anna Uhlig; 6. Mimêsis, mortality and reperformance: the dead among the living in Hecuba and Hamlet Karen Bassi; 7. Double act: reperforming history in the Octavia Erica Bexley; Part III. Texts and Contexts: 8. Festival, symposium and epinician (re)performance: the case of Nemean 4 and others Bruno Currie; 9. Comedy and reperformance Richard Hunter; 10. Performance, transmission and the loss of Hellenistic lyric poetry Giambattista D'Alessio; 11. Reperformance and embodied knowledge in Roman pantomime Ruth Webb; Reflections: Is this reperformance? Simon Goldhill.
About the author
Richard Hunter is Regius Professor of Greek in the University of Cambridge and a Fellow of Trinity College. His most recent books include Plato and the Traditions of Ancient Literature: The Silent Stream (Cambridge, 2012), Hesiodic Voices: Studies in the Ancient Reception of Hesiod's Works and Days (Cambridge, 2014) and Apollonius of Rhodes: Argonautica Book IV (Cambridge, 2015).Anna Uhlig is Assistant Professor of Classics at the University of California, Davis. She has published on Greek lyric and dramatic poetry of the Archaic and Classical periods, and is completing a study of Pindar and Aeschylus.
Summary
This book studies the idea and practice of reperformance as it affects ancient lyric poetry and drama, and especially how poets and critics use this idea to create a deep temporal sense. All chapters are informed by recent developments in performance studies, and all Greek and Latin is translated.
